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<h1><a href="https://archiveofourown.org/works/29711991">1.02 Reach Out and Touch What?</a> by <a class='authorlink' href='https://archiveofourown.org/users/virginalbehemoth/pseuds/virginalbehemoth'>virginalbehemoth</a></h1>

<table class="full">

<tr><td><b>Series:</b></td><td>Supernatural: Act Two [2]</td></tr>

<tr><td><b>Category:</b></td><td>Supernatural</td></tr>

<tr><td><b>Genre:</b></td><td>Castiel as God (Supernatural), Castiel/Dean Winchester First Kiss, Consequences, Emotional Baggage, Emotional Hurt/Comfort, F/M, First Kiss, Grieving Dean Winchester, Human Castiel (Supernatural), Love Confessions, M/M, Metafiction, Misunderstandings, Post-Canon, Religious Imagery &amp; Symbolism, Screenplay/Script Format, Unofficial Sequel, mt shastaaaa, they go to mfin mt shastaaaaaaaaaa</td></tr>

<tr><td><b>Language:</b></td><td>English</td></tr>

<tr><td><b>Status:</b></td><td>Completed</td></tr>

<tr><td><b>Published:</b></td><td>2021-02-26</td></tr>

<tr><td><b>Updated:</b></td><td>2021-02-26</td></tr>

<tr><td><b>Packaged:</b></td><td>2021-05-15 17:54:23</td></tr>

<tr><td><b>Rating:</b></td><td>Not Rated</td></tr>

<tr><td><b>Warnings:</b></td><td>Graphic Depictions Of Violence</td></tr>

<tr><td><b>Chapters:</b></td><td>1</td></tr>

<tr><td><b>Words:</b></td><td>7,338</td></tr>

<tr><td><b>Publisher:</b></td><td>archiveofourown.org</td></tr>

<tr><td><b>Story URL:</b></td><td>https://archiveofourown.org/works/29711991</td></tr>

<tr><td><b>Author URL:</b></td><td>https://archiveofourown.org/users/virginalbehemoth/pseuds/virginalbehemoth</td></tr>

<tr><td><b>Summary:</b></td><td><div class="userstuff">
              <p>Sam and Dean try to find a source to a recent rise in demonic omens, Cas tracks what seems to be one of the last remaining angels. Roughly 45 pages of script, newly formatted for Ao3!</p>
            </div></td></tr>

<tr><td><b>Relationships:</b></td><td>Castiel/Dean Winchester, Dean Winchester &amp; Sam Winchester, Eileen Leahy/Sam Winchester</td></tr>

<tr><td><b>Series:</b></td><td>Supernatural: Act Two [2]</td></tr>

<tr><td><b>Series URL:</b></td><td>https://archiveofourown.org/series/2183577</td></tr>

<tr><td><b>Comments:</b></td><td>22</td></tr>

<tr><td><b>Kudos:</b></td><td>131</td></tr>

</table>

<a name="section0001"><h2>1.02 Reach Out and Touch What?</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Author's Note:</b><blockquote class="userstuff">
      <p>I don't really know when I'll update this series but I do have plans that I'm organizing and a series arc in mind. It might just take me a while. Bear with me. Have fun!</p>
    </blockquote></div><div class="userstuff module">
    
    
<p></p><div class="row">
<p></p><div class="column side"><h2></h2></div><div class="column middle"><p class="slug">TEASER</p>
<p class="sub">FADE IN:</p>
<p class="sub">1	INT. AN APARTMENT - NIGHT							    1</p>
<p class="act">Three friends in their early 20s- Ryan, Tasha, and Lilah- sit on a sagging brown leather couch in a dingy apartment, watching TV.</p>
<p class="act">Tasha and Lilah lean forward. We see the TV. It’s playing “When Harry Met Sally”, specifically the beginning of the diner scene.</p>
<p class="char">RYAN</p>
<p class="dlogue">You know, you guys could just watch porn. </p>
<p class="act">Tasha and Lilah turn to Ryan, an affronted expression on Lilah’s face. </p>
<p class="char">RYAN</p>
<p class="par">(cont.)</p>
<p class="dlogue">If you want to see ladies moan. Just go for porn. I don’t think they have many Meg Ryan look alikes anymore, though, you’ll have to watch nineties tapes-</p>
<p class="char">TASHA</p>
<p class="dlogue">Shut up. You make us sound like horny freaks.</p>
<p class="char">RYAN</p>
<p class="dlogue">Aren’t you?</p>
<p class="char">LILAH</p>
<p class="dlogue">This is a seminal scene! It’s the thesis!</p>
<p class="char">TASHA</p>
<p class="dlogue">Yeah. Besides, don’t act like you’re above getting your rocks off; you’re as bad as the rest of us.</p>
<p class="char">LILAH</p>
<p class="dlogue">Oh, it’s starting.</p>
<p class="act">Sally begins moaning on the screen and we cut away to… </p>
<p class="sub">2	INT. AN APARTMENT - NIGHT							    2</p>
<p class="act">Later that night. Ryan waves goodbye to Tasha and Lilah as they leave. He shuts the door, begins cleaning up.</p>
<p class="act">Ryan opens a pizza box and sighs when he sees that there’s nothing left. He closes it, moving to the kitchenette and putting it on the counter and, rubbing at the back of his neck, he gets a hot water pack.<br/>
Ryan fills up a kettle with water, puts it on the stove, and switches it on but, suddenly, the air around him begins to ignite. The fire flies towards Ryan before… pausing.</p>
<p class="act">Ryan stares at it, suspicious. Takes a paper cup, throws it in the fire, and sees it just fall to the floor, untouched. A bright white light fills the kitchen.<br/>
Ryan looks into this light, brighter than the sun, and he goes from skeptical to beatific disturbingly quickly. Like he’s reading from a children’s book:</p>
<p class="char">RYAN</p>
<p class="dlogue">There was a gas leak.</p>
<p class="act">The glowing light doesn’t respond. Ryan giggles.</p>
<p class="char">RYAN</p>
<p class="dlogue">Are you taking me to heaven…?   Will there be anyone cute there? No… No, I’ve been chosen by God. I will carry out a task… (nodding) I will carry it out tomorrow night. Thank you.</p>
<p class="act">WHAM! Everything’s back to normal. Gas leak’s gone. The water boils on the stove. The pizza box sits open, a slice inside.</p>
<p class="sub">3 INT. AN APARTMENT - DAY								    3</p>
<p class="act">MUSIC CUE: “Perfect Day” by Lou Reed</p>
<p class="sub">BEGIN MONTAGE</p>
<p class="act">Ryan’s day, the abridged version.</p>
<p class="sub">QUICK CUTS:</p>
<p class="act">-- Ryan eats a bowl of cereal.</p>
<p class="act">-- Ryan drives to the nearby community college.</p>
<p class="act">-- Ryan sits in class.</p>
<p class="act">-- Ryan buys himself a nice tuna salad sandwich. </p>
<p class="act">-- Ryan buys himself a pistol.</p>
<p class="sub">END MONTAGE</p>
<p class="sub">4	EXT. A PARKING LOT - NIGHT						    4</p>
<p class="act">Sitting on the curb, Ryan waits for someone, head perking up at every passerby.</p>
<p class="act">A woman of about forty walks out of a nearby building, a leather satchel hoisted over her shoulder and a BRIGHTLY glowing cross hanging beneath her neck. Ryan sees her and becomes ecstatic.</p>
<p class="act">He pursues her as she goes to her car but she doesn’t notice him til his reflection appears behind hers in the window. She turns.</p>
<p class="char">WOMAN</p>
<p class="dlogue">Can I help you?</p>
<p class="act">Ryan puts the pistol to the woman’s lower stomach, her eyes widen, and he pulls the trigger with a shout, crying with joy.</p>
<p class="act">Money shot.</p>
<p class="sub">END MUSIC CUE</p>
<p class="sub">CUT TO BLACK</p>
<p class="slug">END OF TEASER</p></div><div class="column side"><h2></h2></div></div>
<p></p><div class="row">
<p></p><div class="column side"><h2></h2></div><div class="column middle"><p class="slug">ACT ONE</p>
<p class="sub">FADE IN:</p>
<p class="sub">5	INT. SHASTA DIVE BAR - DAY						    5</p>
<p class="act">This bar basically looks like the Shasta Vets Club. An exhausted Tasha mans the bar but she’s not really serving anyone: it’s a couple hours past noon and the only people in the bar are people without lives OUTSIDE of the bar.</p>
<p class="act">Cas pushes the door open and stumbles in, alert, slightly out of breath.</p>
<p class="char">CAS</p>
<p class="par">(hoarse)</p>
<p class="dlogue">Where are all the payphones?</p>
<p class="act">The patrons look up at him, Tasha too. Beat.</p>
<p class="char">CAS</p>
<p class="dlogue">I thought I saw one in a coffee shop but it was just a display. I don’t understand.</p>
<p class="char">TASHA</p>
<p class="dlogue">We ripped out our payphones over a decade ago. You okay?</p>
<p class="char">CAS</p>
<p class="dlogue">The coffee was ten dollars, I find that exorbitant. I didn’t buy it, of course, but I considered it-</p>
<p class="char">TASHA</p>
<p class="dlogue">Are you <span class="u">okay</span>?</p>
<p class="act">Cas focuses on Tasha, calming down.</p>
<p class="char">CAS</p>
<p class="dlogue">Yes, I… I’m fine, I just need to call my friend. Can one of you help me?</p>
<p class="char">TASHA</p>
<p class="dlogue">I can call her for you.</p>
<p class="char">CAS</p>
<p class="dlogue">No, I need to call him. I don’t know if he’s safe, I don’t know if my son… </p>
<p class="act">Tasha stares at him, slightly confused. She hands him her phone.</p>
<p class="char">TASHA</p>
<p class="dlogue">Just don’t steal it.</p>
<p class="char">CAS</p>
<p class="dlogue">Thank you.</p>
<p class="act">Cas dials Dean’s number, walking to the front door and turning to wave at Tasha, signaling to her that he’ll be right outside. </p>
<p class="act">He leans against the doorway and listens as the call goes straight to voicemail. We hear Dean’s voice:</p>
<p class="char">DEAN</p>
<p class="par">(recording)</p>
<p class="dlogue">This is Dean Winchester. If this is an emergency, leave a message.</p>
<p class="act">The phone beeps.</p>
<p class="sub">6	INT. THE IMPALA - DAY							    6</p>
<p class="act">Dean wakes up in the passenger seat of the Impala as Sam drives.<br/>
Bleary eyed, he sits up, looking out the front window just as they pass by a highway sign showing that they’re approaching LA.</p>
<p class="char">DEAN</p>
<p class="dlogue">Where’re we goin? </p>
<p class="char">SAM</p>
<p class="dlogue">Hey to you too. Jody called while you were out, said she’s been getting reports from other hunters about an increase in demonic omens.</p>
<p class="act">While Sam talks, Dean looks at his phone, sees that it’s off. Sam notices, hands him a portable charger.  </p>
<p class="char">SAM</p>
<p class="par">(cont.)</p>
<p class="dlogue">Cattle mutilations, crop failures, you name it. </p>
<p class="char">DEAN</p>
<p class="dlogue">That’s just what California’s like.</p>
<p class="act">Sam looks at him, exasperated.</p>
<p class="char">SAM</p>
<p class="dlogue">It’s nationwide. We’re near a few cases. It would be good to check them out. </p>
<p class="char">DEAN</p>
<p class="dlogue">Let other hunters take them. We can work the ones around Lebanon.</p>
<p class="char">SAM</p>
<p class="dlogue">Actually, I think this would be good for you. Get you motivated. Besides, this way we could hang around here a bit, see if Cas is back.</p>
<p class="act">Beat. Dean glances at Sam, looks down at his hands.</p>
<p class="char">DEAN</p>
<p class="dlogue">He’s not.</p>
<p class="char">SAM</p>
<p class="dlogue">Dean, we can’t just give up. You don’t k-</p>
<p class="char">DEAN</p>
<p class="dlogue">No, no, don’t giv- just… just don’t, man.</p>
<p class="act">Sam gives him a meaningful look, obviously wanting to say more, so Dean turns on the car radio and resolutely stares ahead.</p>
<p class="sub">7	INT. SHASTA DIVE BAR - DAY						    7</p>
<p class="act">Cas takes a seat at the bar, putting the phone on the table.</p>
<p class="char">TASHA</p>
<p class="dlogue">No luck?</p>
<p class="char">CAS</p>
<p class="dlogue">Unfortunately not.</p>
<p class="char">TASHA</p>
<p class="dlogue">You wanna try someone else?</p>
<p class="char">CAS</p>
<p class="dlogue">His is the only number I have memorized.  </p>
<p class="char">TASHA</p>
<p class="dlogue">Shame. I’m sure he’ll call back.</p>
<p class="char">CAS</p>
<p class="dlogue">I’m not sure he’s alive.</p>
<p class="act">Tasha lets out a bit of a wet laugh. She looks down.</p>
<p class="char">CAS</p>
<p class="dlogue">I’ve upset you.</p>
<p class="char">TASHA</p>
<p class="dlogue">I’m good.</p>
<p class="char">CAS</p>
<p class="dlogue">Are you?</p>
<p class="char">TASHA</p>
<p class="dlogue">Frankly, it’s not your business, I’m… </p>
<p class="act">A TV above the bar begins playing a report on Ryan’s arrest. We see Ryan’s face juxtaposed with shots of the crime scene.</p>
<p class="char">NEWS ANCHOR</p>
<p class="dlogue">… When asked about his motivations for the brutal attack, he gave no more explanation than “I was seeing angels…“</p>
<p class="char">TASHA</p>
<p class="par">(to herself)</p>
<p class="dlogue">For fuck’s sake.</p>
<p class="act">She turns off the TV. Cas looks back and forth between the TV and Tasha.</p>
<p class="char">CAS</p>
<p class="dlogue">Did you know him?</p>
<p class="char">TASHA</p>
<p class="par">(lying)</p>
<p class="dlogue">No.</p>
<p class="act">Cas stares at her, concerned. </p>
<p class="char">CAS</p>
<p class="par">(slowly)</p>
<p class="dlogue">If you knew him and he was seeing angels, you may not be sa-</p>
<p class="char">TASHA</p>
<p class="dlogue">He wasn’t seeing anything. He’s locked up anyway, I’m fine. Listen, are you going to buy anything?</p>
<p class="char">CAS</p>
<p class="dlogue">That’s not what I meant.</p>
<p class="act">Beat. Cas looks at the switched off TV, thinking. It may not be safe for people if there’s an angel here. He looks in his pocket, which has a decent amount of leftover cash. Sighing:</p>
<p class="char">CAS</p>
<p class="dlogue">Where’s the nearest place to stay?</p>
<p class="sub">8	EXT. A CALIFORNIA HIGHWAY - DAY					    8</p>
<p class="act">The Impala whizzes by.</p>
<p class="sub">9	EXT. A GAS STATION - DAY							    9</p>
<p class="act">Afternoon. Sam and Dean pull into a gas station. Dean moves to get out and Sam holds him back.</p>
<p class="char">SAM</p>
<p class="dlogue">Are you sure you’re good to go? Your back’s still-</p>
<p class="char">DEAN</p>
<p class="par">(incredulous)</p>
<p class="dlogue">Sam, I’m more than capable of gassing up my own damn car.</p>
<p class="char">SAM</p>
<p class="par">(hands raised)</p>
<p class="dlogue">Fine! Whatever.</p>
<p class="act">Dean gets out of the car, begins pumping the gas.</p>
<p class="act">Leaning against the Impala, Dean takes his phone out of his pocket. He sees a notification for a voicemail from an unknown number, signs in, and puts the phone up to his ear.</p>
<p class="char">CAS</p>
<p class="par">(recording)</p>
<p class="dlogue">Dean, it’s me. I don’t know where you are or if you’re… I hope you’re safe. I’m in Shasta. I think something’s wrong here. Call me back or find me or… It would be nice to hear your voice. </p>
<p class="act">Dean pulls his phone away from his ear, a grim expression on his face.</p>
<p class="sub">10	INT. THE IMPALA - DAY							   10</p>
<p class="act">Dean slides into the passenger seat.</p>
<p class="char">DEAN</p>
<p class="dlogue">Think I know why the omens are cropping up. I got a voicemail. </p>
<p class="act">Dean thinks that’s a sufficient explanation (he’s an idiot). Sam raises his brows, asking him to elaborate.</p>
<p class="char">DEAN</p>
<p class="dlogue">It’s from “Cas”.</p>
<p class="char">SAM</p>
<p class="par">(stunned)</p>
<p class="dlogue">What- Dean, that’s great! Where is he?</p>
<p class="char">DEAN</p>
<p class="dlogue">Hold your horses. Last time this happened it wasn’t actually… Sammy, I think the devil’s in Shasta.</p>
<p class="act">Sam looks at Dean, disbelieving.</p>
<p class="char">SAM</p>
<p class="par">(slowly)</p>
<p class="dlogue">Dean, we watched Lucifer die a month ago.</p>
<p class="char">DEAN</p>
<p class="dlogue">I know.</p>
<p class="char">SAM</p>
<p class="par">(cont.)</p>
<p class="dlogue">And, no offense, even if he <span class="u">was</span> back, he usually goes through me.</p>
<p class="char">DEAN</p>
<p class="dlogue">Listen, you got a better explanation for the omens?</p>
<p class="char">SAM</p>
<p class="dlogue">No, but we can take it one step at a time, take one of the cases <span class="u">I</span> suggeste-</p>
<p class="char">DEAN</p>
<p class="dlogue">He’s <span class="u">back</span>, Sam.</p>
<p class="char">SAM</p>
<p class="dlogue">Or maybe he’s not! Maybe you saved Cas! Is that so crazy? Why can’t you accept that this might be a win?</p>
<p class="char">DEAN</p>
<p class="dlogue">Listen, I’d love for it to not be him but now? After a year of not knowing what’s real, the only thing I can trust is my gut and, Sam, that voicemail felt <span class="u">wrong</span>.</p>
<p class="act">Sam pauses. Dean really believes this, huh?</p>
<p class="char">SAM</p>
<p class="par">(playing along)</p>
<p class="dlogue">I’m… (he sighs) What makes you so sure he’s in Shasta?</p>
<p class="act">Dean’s shoulders sag a bit, relieved to be believed.</p>
<p class="char">DEAN</p>
<p class="dlogue">Well, he told me. But, uh, lemme check to see if there’s been any activity in that area.</p>
<p class="act">He does a quick google search. Reading off his phone screen:</p>
<p class="char">DEAN</p>
<p class="dlogue">“Young Man Shoots Professor In The Name of God”. Killing didn’t take place in Shasta but the guy who did it was a resident.</p>
<p class="act">Sam raises his eyebrows as Dean lets out a humorless chuckle.</p>
<p class="char">DEAN</p>
<p class="dlogue">Well. We know God’s not around. Think we can get there by nightfall?</p>
<p class="sub">11	EXT. SHASTA DAM BLVD - DAY						   11</p>
<p class="act">A woman of about forty- let’s call her Maggie- takes a stroll. She looks like a magpie dressed her, all shiny accessories and bright colors. She wears glasses with a beaded chain and holds a sandwich, absentmindedly eating as she walks. </p>
<p class="act">Shasta almost looks like a modern ghost town. A surprising amount of the buildings on this boulevard are dilapidated. All new age or otherwise religious shops sit, falling apart, looking as though they’ve been burnt from the inside out. Nobody on the street takes any special notice of this, though.</p>
<p class="act">Maggie stops at a crosswalk, beginning to cross. She almost trips over a crack in the asphalt and, as she looks down, one of her glasses arms slips out of the chain, the glasses falling to the floor. </p>
<p class="act">Front shot, reminiscent of the one of Dean from “Mystery Spot”. Maggie bends down to pick up her glasses and a car BARRELS into the frame so fast that we don’t even register that it was about to hit her til… it doesn’t.</p>
<p class="act">Maggie finishes picking up her glasses, not noticing the sudden change until she puts them back on. She turns to the car, frowning, and steps out of the way. She tries to wave it away.</p>
<p class="char">MAGGIE</p>
<p class="dlogue">Hello! You can go now.</p>
<p class="act">The car doesn’t move and Maggie leans in, trying to see the driver, but suddenly there’s some MAJOR glare in the car window. Maggie turns back only to find herself face to face with a big bright light. Her sandwich falls to the floor and her face softens.</p>
<p class="char">MAGGIE</p>
<p class="dlogue">Oh, you’re beautiful.</p>
<p class="sub">12	EXT. SHASTA DAM MOTEL - NIGHT						   12	</p>
<p class="act">The Impala pulls into a parking spot outside of the motel.</p>
<p class="act">Sam and Dean step out of the car. Sam quickly circles around to Dean’s side of the car, tries to help him out, but Dean slaps his hand away. They go into the office, buying a room for the night.</p>
<p class="act">The camera moves past most of the motel, creeping around the corner to find Cas standing at a vending machine.</p>
<p class="act">He considers his options carefully: does he get the Famous Amos cookies or the Sunchips? His stomach grumbles. Pick something already! </p>
<p class="char">ELI</p>
<p class="dlogue">I prefer the cookies.</p>
<p class="act">Cas, startled, turns to find Eli, a man of about seventy, waiting behind him. He works at the motel and wears a nametag.</p>
<p class="char">CAS</p>
<p class="dlogue">Thank you… I’m, uh, not used to physical hunger.</p>
<p class="act">Eli looks at Cas strangely. Cas hesitates, looking to the side before sighing and putting in a couple of quarters, hitting the button combo for the cookies.</p>
<p class="act">Eli doesn’t move.</p>
<p class="char">CAS</p>
<p class="dlogue">Are you waiting for something?</p>
<p class="char">ELI</p>
<p class="par">(smiling)</p>
<p class="dlogue">Just for my turn.</p>
<p class="act">The cookies fall to the bottom of the machine and Cas reaches his hand in the slot, pulling out the bag. </p>
<p class="char">CAS</p>
<p class="dlogue">My mistake.</p>
<p class="act">Cas begins to walk away.</p>
<p class="char">ELI</p>
<p class="dlogue">Do I know you?</p>
<p class="act">Cas turns, looks at Eli. He squints.</p>
<p class="char">CAS</p>
<p class="dlogue">… I don’t think so.</p>
<p class="char">ELI</p>
<p class="dlogue">Hm. Alright. Have a nice night now.</p>
<p class="char">CAS</p>
<p class="dlogue">Thanks, you too.</p>
<p class="sub">13	INT. CAS’ MOTEL ROOM - NIGHT						   13</p>
<p class="act">Cas enters into his motel room, opening the bag of cookies, and sits on his bed. He picks up a stack of printed out website screenshots: google searches and the “Young Man Shoots Professor in The Name of God” story. There’s a radio on the bedside table playing classical music while a kind of old, definitely from the 90s TV sits high in a corner of the room playing the news. Cas switches it to a channel playing Dr Sexy and immediately mutes it.</p>
<p class="act">Cas thoughtfully chews on a cookie, looking at a google results page for “stores that sell holy oil”.</p>
<p class="act">The TV goes to static. Cas gets up to look at it and frowns.</p>
<p class="act">There’s a pounding on the window. Wind, surely, but what if it’s…</p>
<p class="act">The classical music on the radio cuts off due to interference and whoop, that along with the window and the static is enough for Cas to reach behind the mattress and pull out his angel blade.</p>
<p class="act">Lightning strikes outside and, in an instance where we’d usually see wings furling out against motel room walls, we see nothing but Cas: fierce, armed, alert, AND artfully framed so that the TV is behind his head like a staticy little halo. </p>
<p class="act">Cas slices through his palm with the blade and gets to work, painting sigils on his room walls.</p>
<p class="sub">14	INT. SAM AND DEAN’S MOTEL ROOM - NIGHT				   14</p>
<p class="act">Dean walks out of the motel room bathroom, rubbing at his back through his shirt. Sam lies on his bed, hitting buttons on the remote to try to make the TV play anything but static.</p>
<p class="char">SAM</p>
<p class="dlogue">You good? </p>
<p class="char">DEAN</p>
<p class="dlogue">Yeah, think so. </p>
<p class="char">SAM</p>
<p class="dlogue">If you ever need me to dress the wound, I can. I know it can be hard to reach-</p>
<p class="char">DEAN</p>
<p class="dlogue">It’s fine.</p>
<p class="act">Sam shrugs. Dean lies back on his bed, looks at Sam.</p>
<p class="char">DEAN</p>
<p class="par">(determined)</p>
<p class="dlogue">Sammy, I promise you: this time I’ll make sure Lucifer stays dead.</p>
<p class="char">SAM</p>
<p class="dlogue">… Okay. Sure. Uh, but for now, how do we want to approach this angelic mercenary thing?</p>
<p class="char">DEAN</p>
<p class="dlogue">I say I interview our, uh, psycho killer, while you talk to the local priest. The victim was catholic, maybe there’s something there. We see if we can get a lead off either of them, keep an eye out for any more killings or signs of angelic activity.</p>
<p class="char">SAM</p>
<p class="dlogue">Sounds good.</p>
<p class="act">The TV static stops, replaced by an episode of “Antiques Roadshow”. Sam moves to change it but Dean stops him. Sam gives Dean a weird look but Dean just sits down on the bed, enthralled. </p>
<p class="act">On the TV, an old man gets his Rolex appraised for hundreds of thousands of dollars, dropping to the floor in exaggerated shock, and Dean manages a weak smile.</p>
<p class="act">From Dean’s coat pocket, we hear his phone vibrate.</p>
<p class="sub">15	INT. CAS’ MOTEL ROOM - NIGHT						   15</p>
<p class="act">We see Cas sitting on the edge of his bed in his now sigil-coated motel room, his tie wrapped around his palm. He’s got a landline cradled between his ear and the crook of his shoulder.</p>
<p class="char">DEAN</p>
<p class="par">(over the phone)</p>
<p class="dlogue">Hello?</p>
<p class="char">CAS</p>
<p class="dlogue">Dean?</p>
<p class="sub">16	INT. SAM AND DEAN’S MOTEL ROOM - NIGHT				   16</p>
<p class="act">Cas’ on speakerphone. Dean, facing away from Sam, closes his eyes and swallows, just savoring (probably fake) Cas’ voice. He opens his eyes, musters up some anger.</p>
<p class="char">CAS</p>
<p class="par">(over the phone)</p>
<p class="dlogue">Dean. Where are you? Are you all alright?</p>
<p class="char">DEAN</p>
<p class="dlogue">Don’t call me again.</p>
<p class="act">Dean hangs up and turns to Sam, who throws his hands up in the air, exasperated.</p>
<p class="char">SAM</p>
<p class="dlogue"> <span class="u">Dean</span>.</p>
<p class="char">DEAN</p>
<p class="dlogue">I don’t wanna hear it.</p>
<p class="char">SAM</p>
<p class="par">(lying)</p>
<p class="dlogue">We could’ve gotten some good intel on where- where Lucifer is with that call.</p>
<p class="act">Dean stalls a bit at that.</p>
<p class="char">DEAN</p>
<p class="dlogue">Yeah, I guess. Sorry.</p>
<p class="act">Dean trudges off towards the table while Sam stares at his back, slowly piecing something together.</p>
<p class="char">DEAN</p>
<p class="dlogue">I swear, when we’re done with him he’ll- no one will ever get near our <span class="u">family</span> again.</p>
<p class="act">MUSIC CUE: “Watersong” by Cranes</p>
<p class="act">Sam curiously watches as Dean sits down at the table and opens up his laptop.</p>
<p class="sub">17	INT. MAGGIE’S HOUSE - NIGHT						   17</p>
<p class="act">Burney, California. Maggie walks through her front door, locking it behind her, a bouquet tucked beneath one arm. She and the bouquet are soaked.</p>
<p class="char">MAGGIE</p>
<p class="dlogue">Ma? I’m home. Sorry I’m late but I got you something. (to herself) Ruined now. Eh, it’s the thought that counts.</p>
<p class="act">Maggie takes her shoes off, begins walking down the hall.</p>
<p class="char">MAGGIE</p>
<p class="dlogue">I’m just going to put these in the living room and then I’ll make us both dinner. That oka- ?</p>
<p class="act">Maggie enters her living room, finds her Ma- an elderly woman- sleeping in an armchair. A little angel figurine sits on the mantel above her. Ma’s glowing.</p>
<p class="act">Maggie places the sopping wet flowers onto another armchair and fishes through her bag, looking at her mother like she’s beautiful. She pulls an antique dagger out and creeps forward.</p>
<p class="act">We hear a series of violent slashes and focus on the angel figurine as blood sprays across it. </p>
<p class="sub">END MUSIC CUE</p>
<p class="sub">CUT TO BLACK</p>
<p class="slug">END OF ACT ONE</p></div><div class="column side"><h2></h2></div></div>
<p></p><div class="row">
<p></p><div class="column side"><h2></h2></div><div class="column middle"><p class="slug">ACT TWO</p>
<p class="sub">FADE IN:</p>
<p class="sub">18	INT. MENTAL HEALTH FACILITY - DAY					   18</p>
<p class="act">Dean, dressed as an orderly, sits with Ryan. He’s got a clipboard in hand, taking notes.</p>
<p class="char">RYAN</p>
<p class="dlogue">… I was- I was almost <span class="u">bathed</span> in fire and then this light shone down on me. There’s nothing like it. Of course I’d listen. I owed it my life.</p>
<p class="char">DEAN</p>
<p class="dlogue">And, Ryan, how do you feel about your, uh, obligation getting you stuck <span class="u">here</span>?</p>
<p class="char">RYAN</p>
<p class="dlogue">Well it’s… I did god’s work. I’m happy.</p>
<p class="act">Dean nods, thinks.</p>
<p class="char">DEAN</p>
<p class="par">(wildly unethically)</p>
<p class="dlogue">How do you know it was God’s work?</p>
<p class="char">RYAN</p>
<p class="dlogue">What do you mean? It was God. A messenger of God.</p>
<p class="char">DEAN</p>
<p class="dlogue">Right. Well, I get that you <span class="u">think</span> that but have you even seen God? I mean, would you <span class="u">like</span> the guy, would you be able to tell the difference between him and-</p>
<p class="char">RYAN</p>
<p class="dlogue">It was God. It was God.</p>
<p class="sub">19	INT. ST ANTHONY’S CHURCH - DAY						   19</p>
<p class="act">Sam enters the church, goes down the stairs to the basement, approaches an open door: the Priest’s office. The Priest, an older man, has earphones in. Sam knocks on the doorframe and the Priest pulls one earphone out before tucking both away entirely.</p>
<p class="char">PRIEST</p>
<p class="dlogue">My apologies, I wasn’t expecting anyone. Come in.</p>
<p class="char">SAM</p>
<p class="dlogue">Hi Father. I just wanted to introduce myself.</p>
<p class="act">Sam goes in, takes a seat across from the Priest. It’s a nice office. Cozy. There’s photos up, a grated window in the upper right corner of the back wall, and short shelves carrying tons of books. The Priest sits at his desk, Sam on the other side.</p>
<p class="char">SAM</p>
<p class="par">(cont.)</p>
<p class="dlogue">I’m Sam- uh, Sam Leahy. My wife and I just moved to the area and wanted to get acquainted with the community.</p>
<p class="char">PRIEST</p>
<p class="dlogue">That’s nice to hear. I take it you’re religious?</p>
<p class="act">Oh, where to begin?</p>
<p class="char">SAM</p>
<p class="dlogue">It’s complicated.</p>
<p class="char">PRIEST</p>
<p class="dlogue">I see.</p>
<p class="act">Beat.</p>
<p class="char">PRIEST</p>
<p class="dlogue">Is there anything in particular you want to talk about?</p>
<p class="char">SAM</p>
<p class="dlogue">Actually, uh… the recent murder’s made me wonder if I should regret moving here. It’s actually what made me reconsider my relationship with- uh, God.</p>
<p class="char">PRIEST</p>
<p class="par">(sympathetic)</p>
<p class="dlogue">Ah. Those two. I’m sorry. </p>
<p class="char">SAM</p>
<p class="dlogue">Two?</p>
<p class="char">PRIEST</p>
<p class="dlogue">You didn’t hear?</p>
<p class="act">Sam shakes his head.</p>
<p class="char">PRIEST</p>
<p class="dlogue">Yesterday, a woman. Two people seem to have come down with the same mania. I mean, Lord knows we’ve had major tragedies before but I’ve never… the community’s cannibalizing itself. If it’s safety you want… I’m afraid I can’t promise you that.</p>
<p class="char">SAM</p>
<p class="dlogue">I think- I mean, ever since I was little, the only way I could work through my fear was learning. Just, understanding what I was afraid of.</p>
<p class="act">The Priest nods.</p>
<p class="char">SAM</p>
<p class="dlogue">This has been… I’m terrified for my wife’s safety more than mine. Would you be alright if I asked you a few questions? Just to calm my nerves.</p>
<p class="act">That manipulative little shit.</p>
<p class="sub">21	EXT. ST ANTHONY’S CHURCH - DAY						   21</p>
<p class="act">Dean stands outside of the church, impatient. He taps his foot on the ground, sips a cup of coffee. </p>
<p class="act">An ugly-ass red Volvo 780 Bertone drives by, a trenchcoated man at the wheel, and Dean squints at him, walking in an attempt to follow the car only to bump into Sam, who’s just walked out of the church.</p>
<p class="char">SAM</p>
<p class="dlogue">Dude.</p>
<p class="act">Dean watches the car drive away. </p>
<p class="char">SAM</p>
<p class="dlogue"><span class="u">Dean</span>.</p>
<p class="act">Dean looks at Sam.</p>
<p class="char">SAM</p>
<p class="dlogue">You got anything?</p>
<p class="char">DEAN</p>
<p class="dlogue">Not really. Guy’s dead set, thinks it’s “Angels in America”. You?</p>
<p class="char">SAM</p>
<p class="dlogue">Yeah, uh-</p>
<p class="act">Sam and Dean start walking, turn left on W Alma St.</p>
<p class="char">SAM</p>
<p class="dlogue">So turns out there’s not one murder, there’s two.</p>
<p class="char">DEAN</p>
<p class="dlogue">Two murders. When was the second one?</p>
<p class="char">SAM</p>
<p class="dlogue">Last night. And- get this- both victims belonged to the same parish- listen, you remember that case we took in ‘07? The one down in Providence?</p>
<p class="act">Sam and Dean stop on a corner. They’re on Shasta Dam Blvd, the surprisingly dilapidated main street, now. </p>
<p class="char">DEAN</p>
<p class="dlogue">That’s the one with the priest we had to put to rest, right?</p>
<p class="char">SAM</p>
<p class="dlogue">Mhm. I think it’s the same thing here.</p>
<p class="char">DEAN</p>
<p class="par">(hesitant)</p>
<p class="dlogue">… What makes you so sure?</p>
<p class="char">SAM</p>
<p class="dlogue">What do you mean?</p>
<p class="char">DEAN</p>
<p class="dlogue">I mean, it <span class="u">could</span> be an angel. We know that now.</p>
<p class="char">SAM</p>
<p class="par">(slowly)</p>
<p class="dlogue">… Yeah but I don’t think it is. (normal) Listen, both the victims belonged to a parish in Burney, the St. Francis Church. And the father here? He used to work there as a curate under Father Parish D. Cross… who tore up his throat and died trying to swallow all his gold in the “Great Reckoning of 2011”.</p>
<p class="act">Dean raises his eyebrows.</p>
<p class="char">SAM</p>
<p class="dlogue">He used to skim off the donations.</p>
<p class="char">DEAN</p>
<p class="dlogue">Nah, this doesn’t make sense. Burney’s an hour away and, besides, why would the spirit rise now?</p>
<p class="char">SAM</p>
<p class="dlogue">You got a better lead? Let’s hear it. Father Cross, he’s buried here. Family plot. …Why his spirit rose, I don’t know, but we can’t take chances.</p>
<p class="sub">22	EXT. NEW AGE SHOP - DAY							   22</p>
<p class="act">Weed, California. Cas parks his ugly-ass red Volvo 780 Bertone (hotwired, of course) and steps out, looking at this shop. He heaves a sigh.</p>
<p class="sub">23	INT. NEW AGE SHOP - DAY							   23</p>
<p class="act">Cas enters the store and almost knocks over like four crystals, one of which is those HUGE amethyst geodes. The Cashier looks at him quizzically.</p>
<p class="char">CAS</p>
<p class="dlogue">Hello. The library search engine said your shop sells holy oil.</p>
<p class="char">CASHIER</p>
<p class="dlogue">Uh, yeah, we keep it in a display case usually. Are you interested in buying?</p>
<p class="act">Cas just kind of looks at him, nods.</p>
<p class="char">CASHIER</p>
<p class="dlogue">Alright, let me get it for you.</p>
<p class="char">CAS</p>
<p class="dlogue">Thank you.</p>
<p class="act">The Cashier goes, retrieves the oil from the display case (it’s in a very fancy looking vase), and goes to ring Cas up.</p>
<p class="char">CASHIER</p>
<p class="dlogue">That’ll be 105.37.</p>
<p class="char">CAS</p>
<p class="dlogue">Really?</p>
<p class="char">CASHIER</p>
<p class="dlogue">Taxes are a bitch.</p>
<p class="char">CAS</p>
<p class="dlogue">You don’t understand, I need this to save a town.</p>
<p class="act">The cashier grins. He’s young, cocky.</p>
<p class="char">CASHIER</p>
<p class="dlogue">What, 105.37 too high a price?</p>
<p class="act">Cas sighs, looks in his pockets. Five dollars and a few coins. He retrieves his angel blade .</p>
<p class="char">CASHIER</p>
<p class="dlogue">Whoa, dude, you don’t want to use that on me.</p>
<p class="act">Cas stalks forward, silently raising the blade.</p>
<p class="char">CAS</p>
<p class="dlogue">Do you think I value your life more than the thousands in that town? Yours or mine?</p>
<p class="char">CASHIER</p>
<p class="dlogue">You know it’s olive oil, right? From the finest Kirkland-owned farms in Italy- I don’t want any trouble, man. Fine! Fine, just take it. </p>
<p class="char">Cas stops, keeping the blade up.</p>
<p class="char">CAS</p>
<p class="dlogue">… Thank you.</p>
<p class="char">CASHIER</p>
<p class="dlogue">… Anytime.</p>
<p class="act">Cas, at the cash register, snatches the holy oil while the cashier jumps back, hands up. Cas leaves.</p>
<p class="sub">24	EXT. MT SHASTA MEMORIAL CHAPEL - NIGHT 				   24</p>
<p class="act">Sam, shoveling up a priest’s grave while Dean grumpily watches. </p>
<p class="char">DEAN</p>
<p class="dlogue">You know I can dig, right?</p>
<p class="char">SAM</p>
<p class="dlogue">Dean, digging is strenuous activity and you have a barely healing wound on your back. I’m not going to let you put more stress on yourself if you can help it.</p>
<p class="char">DEAN</p>
<p class="dlogue">Whatever, man. I guess we’re just covering all our bases.</p>
<p class="char">SAM</p>
<p class="dlogue">Exactly.</p>
<p class="char">DEAN</p>
<p class="par">(cont.)</p>
<p class="dlogue">I mean, god forbid another person dies tonight, we’re going to have to continue our hunt. You know? Just need to cross this box off first.</p>
<p class="act">Sam stalls a bit. Okay, not what he was expecting.</p>
<p class="char">SAM</p>
<p class="dlogue">Right.</p>
<p class="sub">25	INT. ELI’S KITCHEN - NIGHT						   25</p>
<p class="act">Burney, California. Eli stands at his stove, making pasta alfredo. It’s a small kitchen, it can barely fit two people. </p>
<p class="act">There’s a little window above the stove that sees into the living room, where Eli’s wife sits, reading. Eli sprinkles some black pepper on the pasta, tastes it. He goes to the cabinet to retrieve two bowls, begins plating the pasta.</p>
<p class="act">Eli’s chest seizes up and he grips the counter. We focus on his knuckles as they go white before he lets go. Color returns to his hands.</p>
<p class="act">To Eli’s left, crammed in the very tiny kitchen, is a big bright beam of beautiful light, almost shaped like a person. Eli looks into it and he is found.</p>
<p class="sub">26	EXT. MT SHASTA MEMORIAL CHAPEL - NIGHT				   26</p>
<p class="act">MUSIC CUE: “Fade Into You by Mazzy Star</p>
<p class="act">Sam hits the (very extravagant) coffin with his shovel and throws it out, leaning down to open the coffin. He climbs out of the grave and stands by Dean.</p>
<p class="char">SAM</p>
<p class="dlogue">You wanna do the honors?</p>
<p class="act">Beat. Dean wasn’t listening, he has to zone back in.</p>
<p class="char">DEAN</p>
<p class="dlogue">Yeah, sure.</p>
<p class="act">Dean picks up a canister of gasoline, douses Father Cross’ body with it, covers it in salt, and throws in a lighter.</p>
<p class="sub">27	INT. ELI’S BATHROOM - NIGHT						   27</p>
<p class="act">Eli goes to the medicine cabinet, takes out a fresh bottle of Benadryl.</p>
<p class="sub">28	INT. ELI’S KITCHEN - NIGHT						   28</p>
<p class="act">Eli peels off the seal, throws it away. He begins crushing the Benadryl with a fork, mixing it into one of the bowls. </p>
<p class="act">Eli looks out through the window, sees his wife. She’s sitting next to a bible, glowing.</p>
<p class="act">We watch as Eli, distressed, desperately tries to put nearly half a bottle of Benadryl in his wife’s food.</p>
<p class="char">ELI’S WIFE</p>
<p class="par">(offscreen)</p>
<p class="dlogue">Smells good.</p>
<p class="char">ELI</p>
<p class="dlogue">Yea, I’ll be there in a minute.</p>
<p class="sub">29	EXT. MT SHASTA MEMORIAL CHAPEL - NIGHT				   29</p>
<p class="act">The Father’s body goes up in flames and Dean stares at it almost helplessly.</p>
<p class="act">Sam watches him, reads his expression. Does Dean <span class="u">want</span> it to be Lucifer? Doesn’t he want Cas back?</p>
<p class="sub">30	INT. ELI’S KITCHEN - NIGHT						   30</p>
<p class="act">Eli stops, almost as though he’s regaining control of himself. He looks at the bottle of Benadryl and at the food, horrified, before dumping both bowls of pasta in the sink.</p>
<p class="act">Panicking, he takes the entire pot he was cooking in and dumps its contents in the sink, rinsing them down. Eli slips on some shoes and flees through the back door.</p>
<p class="sub">31	EXT. MT SHASTA MEMORIAL CHAPEL - NIGHT				   31</p>
<p class="act">Oh. Oh. Realization dawns on Sam’s face and he turns to the flames, sparing one last glance at his brother as he does so.</p>
<p class="sub">END MUSIC CUE</p>
<p class="sub">CUT TO BLACK</p>
<p class="slug">END OF ACT TWO</p></div><div class="column side"><h2></h2></div></div>
<p></p><div class="row">
<p></p><div class="column side"><h2></h2></div><div class="column middle"><p class="slug">ACT THREE</p>
<p class="sub">FADE IN:</p>
<p class="sub">32	INT. SAM AND DEAN’S MOTEL ROOM - NIGHT				   32</p>
<p class="act">Sam sits at the table, looking intently at his laptop screen with airpods in. Dean lies back on his bed, headphones on. Sam waves to get his attention.</p>
<p class="char">SAM</p>
<p class="dlogue">Nothing new on the police scanners.</p>
<p class="char">DEAN</p>
<p class="dlogue">Right. Well, I’m sure something’ll crop up.</p>
<p class="act">Beat. Sam leans back in his chair.</p>
<p class="char">SAM</p>
<p class="dlogue">Do you wanna talk about it?</p>
<p class="char">DEAN</p>
<p class="dlogue">Talk about what, Sam?</p>
<p class="char">SAM</p>
<p class="dlogue">About how it’s getting more and more obvious that Lucifer isn’t here. About how badly you wish he was, even though he’s-</p>
<p class="char">DEAN</p>
<p class="dlogue">He <span class="u">is</span> here. No other explanation.</p>
<p class="char">SAM</p>
<p class="dlogue">One other explanation: maybe Cas is back!</p>
<p class="char">DEAN</p>
<p class="dlogue">He’s <span class="u">not</span>.</p>
<p class="act">Beat.</p>
<p class="char">SAM</p>
<p class="dlogue">Dean, since we got out of San Francisco there's been this… this look in your eyes. I'm guessing it's how I looked when you were pulling me out of the fire. Back at Stanford, I mean. But you… you've had that look for days.</p>
<p class="char">DEAN</p>
<p class="dlogue">Listen, are you going to Jeff Rosso me all night or can I get a bit of peace?</p>
<p class="act">Beat. Sam looks at Dean thoughtfully.</p>
<p class="char">SAM</p>
<p class="par">(gentle)</p>
<p class="dlogue">Lucifer only appears to his targets as their lovers. You know that?</p>
<p class="act">Dean realizes he gave himself away the moment he assumed it was Lucifer, the MOMENT he refused to trust that phone call.</p>
<p class="char">SAM</p>
<p class="dlogue">It’s alright, Dean.</p>
<p class="char">DEAN</p>
<p class="par">(ashamed)</p>
<p class="dlogue">Shut up.</p>
<p class="char">SAM</p>
<p class="dlogue">Whatever it was, we can get-</p>
<p class="char">DEAN</p>
<p class="dlogue">Just shut up.</p>
<p class="act">It’s taking all of Dean’s composure to keep the mask up. He gets misty eyed.</p>
<p class="act">Dean stands up, walking out, and Sam tries to follow only to be met with a door slammed in his face.</p>
<p class="act">Sam sighs, scrubs a hand down face, and turns back into the room.</p>
<p class="sub">33	EXT. SHASTA DAM MOTEL - NIGHT						   33 </p>
<p class="act">MUSIC CUE: “Cas’ Theme” by Jay Gruska</p>
<p class="act">Dean stalks past the motel, determined (so determined, in fact, that he completely misses the ridiculously large blood sigil in one of the windows). </p>
<p class="act">He sits at a picnic table, pulls a flask out of his inner coat pocket, glances at it, and puts it away. He doesn’t have the energy.</p>
<p class="char">DEAN</p>
<p class="dlogue">Nah.</p>
<p class="act">He looks up at the night sky.</p>
<p class="char">DEAN</p>
<p class="dlogue">You can hear me, right? My- my… (he drifts off) You can hear it.</p>
<p class="act">The sky doesn’t respond.</p>
<p class="char">DEAN</p>
<p class="dlogue">You know, if this world were, uh, one percent cooler, then the stars would glow really bright in a “yes” or “no” type of thing. That’d be nice. And you’d- you’d fall out. Yeah. Right out of the sky.</p>
<p class="act">No response.</p>
<p class="char">DEAN</p>
<p class="dlogue">This is stupid. It’s stupid. I…</p>
<p class="act">Dean drifts off, looks down at his hands. Above him, the stars glow in no special pattern. They just glow.</p>
<p class="sub">END MUSIC CUE</p>
<p class="sub">34	EXT. SHASTA DAM MOTEL - NIGHT						   34</p>
<p class="act">Cas approaches the sign for the motel, which advertises its “58 dollars a night” price. We get a wide shot of him staring at the sign while Dean, at the picnic table but separated from Cas by a cluster of trees, sits with his head in his hands. Neither of them see each other. </p>
<p class="act">In Cas’ pockets lie five dollars and a couple of coins. He looks at them, looks at the sign. He walks away.</p>
<p class="sub">35	EXT. SHASTA DAM BLVD - NIGHT						   35</p>
<p class="act">Cas walks down the boulevard aimlessly, looking for shelter. We see his confusion at the state of the town. He actually stops for a bit to glare, somehow the only character we see who’s noticed that half of Mt Shasta is just… dead.</p>
<p class="act">He looks into the dive bar from across the street, sees how it glows from the inside out. He keeps walking.</p>
<p class="sub">36	EXT. ST ANTHONY’S CHURCH - NIGHT					   36</p>
<p class="act">Cas approaches the church from the outside, goes and pushes the door. It opens.</p>
<p class="sub">37	INT. ST ANTHONY’S CHURCH - NIGHT					   37</p>
<p class="act">Cas goes to a pew, takes off his trench coat, and folds it up into a pillow. He’s got some gauze around his hand now and he lets it hang, not willing to sleep on it, as he lies back in the pew and falls asleep.</p>
<p class="sub">38	INT, ST ANTHONY’S CHURCH - DAY						   38</p>
<p class="act">Cas seizes awake, exactly where we left him.</p>
<p class="act">He sits up and finds that, where there’d usually be a podium, there’s a makeshift stage. The teen actresses from “Fan Fiction” are in costume, performing a scene where Dean wakes up and realizes he’s a woman.</p>
<p class="act">Cas squints, leaning in, and moves his head to look around the church before locking eyes with Sam, who sits behind him.</p>
<p class="char">CAS</p>
<p class="dlogue">Hello Sam. You’re in my dream.</p>
<p class="char">SAM</p>
<p class="dlogue">You’re in <span class="u">my</span> dream.</p>
<p class="act">Onstage, Fem Dean walks up to a mirror.</p>
<p class="char">FEM DEAN</p>
<p class="dlogue">I got boobs, Sammy! Heheh. </p>
<p class="act">Sam raises his eyebrows at that, frowns at the scene. Stage Sam (whom, mind you, is also played by a woman but isn’t one in-universe) walks up behind Fem Dean, pulls her away from the mirror.</p>
<p class="char">STAGE SAM</p>
<p class="dlogue">Stop that, Dean. Remember that video I made you watch on intersectional feminism?</p>
<p class="char">SAM</p>
<p class="dlogue">Uh- okay, uh.</p>
<p class="char">CAS</p>
<p class="dlogue">This reminds me of 16th century England. <span class="u">You</span> would know, all the roles used to be play-</p>
<p class="char">SAM</p>
<p class="dlogue">Yeah. Yes, I do- look, Cas, is it really you?</p>
<p class="act">Cas looks at Sam.</p>
<p class="char">CAS</p>
<p class="dlogue">Yes. I… I tried calling Dean and it didn’t work.</p>
<p class="act">Onstage, the girls all SCRAMBLE around, changing costumes and positions. They wheel in a small set piece that looks like the inside of St Anthony’s Church, just smaller. Sam and Cas don’t notice.</p>
<p class="char">SAM</p>
<p class="dlogue">I heard. I’m sorry. If it helps, Dean won’t talk to me. He thinks you’re dead.</p>
<p class="char">CAS</p>
<p class="dlogue">Are you both in Shasta? It may not be safe, I believe there’s an angel here.</p>
<p class="char">SAM</p>
<p class="dlogue">Ha. We thought so too but it was just a ghost. Are you… ?</p>
<p class="char">CAS</p>
<p class="dlogue">Here? Yes. I’m sleeping in one of these pews. Where’s Jack?</p>
<p class="act">Beat.</p>
<p class="char">SAM</p>
<p class="dlogue">He’s alright. Safe. It’s complicated, we’ll tell you when we see you.</p>
<p class="act">The lighting changes to something more dramatic and Stage Dean walks towards Stage Cas. He’s crying. Stage Dean hesitates but Stage Sam urges him forward. Actual Sam and Cas do not notice this.</p>
<p class="char">CAS</p>
<p class="dlogue">Can I tell you something, Sam?</p>
<p class="char">SAM</p>
<p class="dlogue">Yeah, anything. What’s up?</p>
<p class="char">CAS</p>
<p class="dlogue">These past few days have been… well, I feel as useful as a newborn. I’m afraid. I hope Dean, whatever he feels, will let me back into his life. All of your lives.</p>
<p class="act">Beat. Sam tenses. It’s small, almost imperceptible. Stage Cas begins to back away from Stage Dean.</p>
<p class="char">STAGE CAS</p>
<p class="dlogue">You don’t want to stab me with that. Not me.</p>
<p class="char">SAM</p>
<p class="dlogue">What did you say?</p>
<p class="act">Cas nods at Sam, earnest.</p>
<p class="char">CAS</p>
<p class="dlogue">I said I hope to be let in.</p>
<p class="act">WHOOSH. Sam’s gone and Cas startles a bit, now alone in the pew. He looks at the stage and finally sees the new scene, sees that Stage Dean has now stabbed Stage Cas and is on his knees, trying to hold Stage Cas up, as Stage Cas bleeds onto the church floor. </p>
<p class="act">And… the curtain falls.</p>
<p class="sub">39	EXT. SHASTA DAM MOTEL - NIGHT						   39</p>
<p class="act">Sam rushes out of his and Dean’s motel room, barely closing the door, hands stuffed in his pockets. </p>
<p class="act">He looks in the Impala, sees that Dean’s not there.</p>
<p class="char">SAM</p>
<p class="par">(shouting)</p>
<p class="dlogue">DEAN! DEAN!</p>
<p class="char">DEAN</p>
<p class="par">(offscreen, sleepy)</p>
<p class="dlogue">Here! Over here.</p>
<p class="act">Sam goes over to where Dean’s jolting up at the picnic table, rubbing at his back.</p>
<p class="char">SAM</p>
<p class="dlogue">Dean, your liver’s still healing.</p>
<p class="char">DEAN</p>
<p class="dlogue">Didn’t drink. I wouldn’t. </p>
<p class="char">SAM</p>
<p class="dlogue">Good. That’s good.</p>
<p class="act">Beat. Sam stands, messing with one of the buttons on his flannel.</p>
<p class="char">DEAN</p>
<p class="dlogue">What’s wrong?</p>
<p class="char">SAM</p>
<p class="dlogue">You were right. </p>
<p class="act">Sam drops the button but goes back, smooths it out just once with his thumb. </p>
<p class="char">SAM</p>
<p class="dlogue">He’s here. He- he-</p>
<p class="char">DEAN</p>
<p class="par">(finishing Sam’s sentence)</p>
<p class="dlogue">He came to you. He still here?</p>
<p class="act">Sam looks down at his feet like a scared child.</p>
<p class="char">SAM</p>
<p class="dlogue">Yeah. No, no, he um- it was a dream.</p>
<p class="char">DEAN</p>
<p class="dlogue">It’s okay. It’s okay, we’ll take care of it. Hell, I’ll take care of it. Lord knows that bastard’s screwed us both.</p>
<p class="char">SAM</p>
<p class="dlogue">Yeah.</p>
<p class="char">DEAN</p>
<p class="dlogue">He give you any idea where he is?</p>
<p class="act">Sam looks at Dean and nods.</p>
<p class="sub">40	INT. ST ANTHONY’S CHURCH - NIGHT					   40	</p>
<p class="act">MUSIC CUE: “And Dream of Sheep” by Kate Bush</p>
<p class="act">Cas wakes up in the pew, for real this time.<br/>
We hear a faint whispering and Cas sits up to find Eli, kneeling at the feet of the (tortured but strangely sexy) statue of Jesus.</p>
<p class="act">Eli, having heard the rustle of Cas’ clothes, turns and offers him a warm smile.</p>
<p class="char">ELI</p>
<p class="dlogue">Hello again. I didn’t want to disturb you.</p>
<p class="sub">END MUSIC CUE</p>
<p class="sub">CUT TO BLACK</p>
<p class="slug">END OF ACT THREE</p></div><div class="column side"><h2></h2></div></div>
<p></p><div class="row">
<p></p><div class="column side"><h2></h2></div><div class="column middle"><p class="slug">ACT FOUR</p>
<p class="sub">FADE IN:</p>
<p class="sub">40	INT. ST ANTHONY’S CHURCH - NIGHT					   40</p>
<p class="act">Early early morning. Cas leans over his pew, arms crossed at the top of the seat, and listens to Eli’s lament.</p>
<p class="char">ELI</p>
<p class="dlogue">I… I saw my wife and there was a holy light. And it compelled me to do horrible things.</p>
<p class="char">CAS</p>
<p class="par">(sympathetic)</p>
<p class="dlogue">“Holy” doesn’t necessarily mean “good”. In my… my life, I’ve learned it almost never means “right”.</p>
<p class="char">ELI</p>
<p class="dlogue">You? You’re a baby.</p>
<p class="act">Eli laughs, a weak thing, and Cas smiles.</p>
<p class="char">CAS</p>
<p class="dlogue">I’m glad you were able to snap out of it.</p>
<p class="char">ELI</p>
<p class="dlogue">Yeah… What do I do now? How do I look Mia in the eyes after what I did?</p>
<p class="char">CAS</p>
<p class="dlogue">I’m afraid I don’t know.</p>
<p class="act">Eli nods, turns to gaze at the stained glass, and catches sight of something. His tone becomes more measured, more sober.</p>
<p class="char">ELI</p>
<p class="dlogue">I get the impression that you’re familiar with holy violence.</p>
<p class="char">CAS</p>
<p class="dlogue">What makes you say that?</p>
<p class="act">Eli looks at Cas and then back at the stained glass. Cas gets up, stands by Eli’s side, and follows his gaze to see… his own image. </p>
<p class="char">ELI</p>
<p class="dlogue">September 23rd, 2011. We thought it was the rapture. Didn’t dare rebuild half the town, you tore through it like a tornado.</p>
<p class="char">CAS</p>
<p class="dlogue">I'm... I’m not that man anymore.</p>
<p class="char">ELI</p>
<p class="dlogue">Mhm. How much blood did you spill before making that decision?</p>
<p class="act">The front doors fly open and in walks Dean, going straight for Cas, archangel blade in hand. Cas sees him, gut full of dread, and turns to Eli.</p>
<p class="char">CAS</p>
<p class="dlogue">Run. <span class="u">RUN</span>.</p>
<p class="act">MUSIC CUE: “November Rain” by Guns N’ Roses</p>
<p class="act">Eli flees the church right as Dean grabs Cas, throws him back against the wall. Dean’s near tears. Sam rushes in behind him.</p>
<p class="char">DEAN</p>
<p class="dlogue">That’s for taking his voice, you son of a bitch.</p>
<p class="char">CAS</p>
<p class="dlogue">Dean-</p>
<p class="act">Cas tries to get up only for Dean to throw him again. Weaker.</p>
<p class="char">DEAN</p>
<p class="par">(voice breaking)</p>
<p class="dlogue">His face, too. </p>
<p class="act">Dean hits Cas and Cas’ eye begins to bruise. </p>
<p class="char">SAM</p>
<p class="dlogue">Dean, let me take him.</p>
<p class="char">DEAN</p>
<p class="dlogue">I can do this myself. (to Cas) Jig’s up, Lucifer.</p>
<p class="char">CAS</p>
<p class="par">(pained)</p>
<p class="dlogue">Dean, no. No. You think you failed.</p>
<p class="act">Dean hits Cas again, weaker this time.</p>
<p class="char">CAS</p>
<p class="dlogue">You didn’t fail. Dean, you saved-</p>
<p class="act">Dean grips Cas by the lapels of his jacket, pulls him forward an inch and pushes him back against the wall.</p>
<p class="char">DEAN</p>
<p class="dlogue">Wrong answer, that’s only gonna make it worse.</p>
<p class="char">CAS</p>
<p class="dlogue">It’s the truth.</p>
<p class="act">Dean hits Cas again and this time Cas’ nose bleeds. Dean, a few tears slipping down his cheeks, glares at Cas and sees a ghost. He's ruined.</p>
<p class="char">SAM</p>
<p class="dlogue">Let me take this, your back-</p>
<p class="char">DEAN</p>
<p class="dlogue">It’s <span class="u">fine</span>, Sammy. (to Cas, starting to cry) Drop the act, die honest.</p>
<p class="char">CAS</p>
<p class="dlogue">This is as honest as I know how to be.</p>
<p class="act">Sam turns away. He knows what it feels like when Lucifer takes the form of a loved one.<br/>
Dean hits Cas again, his body tense. Cas grips Dean’s free hand, holds it between his own and Dean hits him again, hard.</p>
<p class="char">CAS</p>
<p class="dlogue">You don’t want to- </p>
<p class="act">Dean moves to hit Cas again.</p>
<p class="char">CAS</p>
<p class="dlogue">… I won't leave you.</p>
<p class="act">Dean stills. He keeps Cas in a tight grip, keeps his face stoic.</p>
<p class="char">CAS</p>
<p class="dlogue">Whatever you choose, Dean. Whatever you believe me to be. When I told you I... (he drifts off) I meant it. Every word. And I will <span class="u">not</span> leave you; not again.</p>
<p class="act">Beat. Dean loosely grips one of Cas’ wrists with his free hand.</p>
<p class="char">DEAN</p>
<p class="dlogue">… Cas?</p>
<p class="act">Dean watches him, unsure. A beat passes before Dean rushes forward, his archangel blade clattering against the floor as he wraps Cas in a hug.</p>
<p class="act">Sam turns.</p>
<p class="char">SAM</p>
<p class="dlogue">Dean?</p>
<p class="char">DEAN</p>
<p class="dlogue">It’s him... It's him, Sammy.</p>
<p class="act">Sam cautiously walks forward as Dean holds Cas tight. He tucks his head into Cas' shoulder before pulling back.</p>
<p class="char">DEAN</p>
<p class="dlogue">Hey. Lemme get a good look at ya.</p>
<p class="act">Beat. Dawn breaks and the light in the church shifts to something sunnier, something softer.<br/>
Dean cradles Cas’ face with trembling hands. He assesses it. It’s got a few bruises, a bit of blood, but nothing too bad.</p>
<p class="char">CAS</p>
<p class="dlogue">Dean, you didn’t know.</p>
<p class="char">DEAN</p>
<p class="dlogue">Nah. I'm gonna make it up. I am... Cas, I need to say something.</p>
<p class="act">Dean hesitates.</p>
<p class="char">CAS</p>
<p class="dlogue">Tell me.</p>
<p class="act">Beat. Dean shifts his weight, one of his hands slipping down to Cas' neck.</p>
<p class="char">DEAN</p>
<p class="dlogue">Meant it, huh?</p>
<p class="char">CAS</p>
<p class="dlogue">Dean...</p>
<p class="char">DEAN</p>
<p class="dlogue">No, no. It's good. It's <span class="u">really</span> good, Cas.  I've just- I... I gotta...</p>
<p class="act">Unable to find the right words, Dean leans in, kissing Cas as though he could break from the slightest pressure.</p>
<p class="act">Wide shot. We reach the refrain, “do you need some time on your own,” as Dean and Cas kiss, small and alone and <span class="u">human</span> in their corner of the church.<br/>
Sam realizes it’s really Cas and his shoulders slump, relieved. He looks up.</p>
<p class="char">SAM</p>
<p class="par">(quietly)</p>
<p class="dlogue">Thank you. </p>
<p class="act">Cas pulls back to wipe at Dean’s tears, reverent. Dean lets out a small laugh, plays at being tough.</p>
<p class="char">DEAN</p>
<p class="dlogue">Okay, alright. Come on.</p>
<p class="act">Dean sees Sam standing awkwardly by a pew and nods at him. Sam goes and gives Cas a hug.</p>
<p class="char">SAM</p>
<p class="dlogue">Happy to have you back, Cas. Also, sorry.</p>
<p class="char">CAS</p>
<p class="dlogue">I understand.</p>
<p class="act">Sam smiles, pulls back from the hug.<br/>
Beat. Dean isn’t able to keep his hands off of Cas, almost shocked that he’s real. Sam takes a deep breath, asks them both:</p>
<p class="char">SAM</p>
<p class="dlogue">Guys, can we go home?</p>
<p class="act">Dean smiles. Soft.</p>
<p class="char">DEAN</p>
<p class="dlogue">Yeah. Yeah, we can.</p>
<p class="sub">END MUSIC CUE</p>
<p class="sub">CUT TO BLACK</p>
<p class="slug">END OF ACT FOUR</p></div><div class="column side"><h2></h2></div></div>
<p></p><div class="row">
<p></p><div class="column side"><h2></h2></div><div class="column middle"><p class="slug">ACT FIVE</p>
<p class="sub">FADE IN:</p>
<p class="sub">41	EXT. A RANDOM TOWN - DAY							   41</p>
<p class="act">Sam drives as Dean sits with Cas in the back of the Impala. Nobody speaks but Dean and Cas hold hands, Dean drifting off, Sam occasionally looking at them in the rearview mirror.</p>
<p class="act">They’re going through a city, doesn’t matter which one. They pass by various stores and eateries: pastry shops, clothing stores, shitty high end coffee shops.</p>
<p class="act">Cas stares out of the window, his eye catching on a thrift store.</p>
<p class="char">CAS</p>
<p class="dlogue">Sam.</p>
<p class="sub">42	EXT. THE THRIFT STORE - DAY						   42</p>
<p class="act">Sam and Dean lean against the Impala and watch as Cas pays at the counter for a pile of clothes. He asks the cashier if he can change in the dressing room and she gives him a tag to hang outside. </p>
<p class="act">He walks out of our line of sight.</p>
<p class="sub">43	INT. THE THRIFT STORE - DAY						   43</p>
<p class="act">Focus on a dressing room curtain for a few beats.</p>
<p class="act">The curtain opens and Cas walks out of the dressing room. We barely get a good look at his outfit but it’s much more relaxed.</p>
<p class="act">Tilt down to the dressing room stool. On it, neatly folded, sit Cas’ trenchcoat, dress coat, dress shirt, slacks, and tie.</p>
<p class="sub">CUT TO BLACK</p>
<p class="sub">END OF ACT FIVE</p>
<p class="slug">TO BE CONTINUED</p></div><div class="column side"><h2></h2></div></div>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Author's Note:</b><blockquote class="userstuff"><p>If you liked this, feel free to leave kudos and check out my tumblr @ virginalbehemoth. Thanks!</p></blockquote></div></div>
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